“VI” is the second Chicago album this jazz/brass rock fanatic purchased (a few weeks after its
release in mid – 1973). I have recently acquired the Rhino re-master and it’s a nice effort,
boasting superior sound, historic photos, well-written liner notes and two bonus tracks (more on
those later).

This album finds the band at a commercial high water mark, a position the band would hold at
least until 1978, before rebounding in the early 1980s. In any event, the experimentalism of “V,”
as well as the political agenda the band had put forth on record since their first album, is pretty
much put on the shelf. The group began recording at its manager/producer’s recording studio high
up in the Rocky Mountains and some of that mellow vibe was bound to rub off on the musicians. That’s not necessarily a bad thing: the boys deliver the funk/R&B like never before!

The horn section found it hard at first to adjust to the thin atmosphere. For whatever reason, the
brass parts are certainly not as in your face as “V.” This sort of fits the laid-back, funky mood of the album, which is partially Chicago’s take on the singer/songwriter crazy of the early 1970s.

Robert Lamm has always been, for the most part, the group’s most introspective writer. It is
therefore appropriate that he kicks off the album with his mellow “Critic’s Choice,” backed only
by his own acoustic piano accompaniment. The subject, of course, is the harsh criticism the band
receives from music reviewers, which at this point of the band’s career (1973) is largely
unwarranted. His lyrics are, to sum up, “tell me what you want the band to be and we’ll become
it, if it will make you happy.” It’s really quite touching in its vulnerability and desperation for
acceptance.

The first of the record’s two big hit singles, trombonist/brass arranger James Pankow’s “Just You
and Me” follows. Performed in concert to this very day, this is one of Chicago’s most popular
tunes. The simple lyrics about love are wrapped in a beautiful brass arrangement and guitarist
Terry Kath’s gentle wah-wah fills. Bassist Peter Cetera sings a strong, poignant lead vocal, his
best to date. The song creaks up-tempo for the mid-section and Walt Parazaider’s brief and
mellow soprano sax feature. The complex chord changes of the tune give him a nice playground
to construct one of his most coherent solos on record (at that point in the band’s recording
career). Call this a classic!

Robert Lamm returns to sing and play funky acoustic piano on his own “Darlin' Dear,” which
features a rare, biting and delightful slide guitar solo from Kath. This one is basically about a traveling musician (Lamm) missing his girlfriend on the road and looking forward to their reunion. The horns are
punchy and R&B flavored. Lamm’s vocal delivery is a bit more R&B than usual as well. Overall impression is that of funky fun!

Terry Kath follows with the first sub-par track: “Jenny.” This is the guitarist’s sole “VI” original. His composition is basically about his dog protecting his “woman” while he’s on the road and two-faced people always defecating on you (he uses the more vulgar curse word for that particular activity)! Many find “Jenny” touching and tender, but to me, this is Kath at rock-bottom. Gerry Rafferty’s (yes, the “Baker Street” guy) pedal steel guitar only makes it worse. No horns, which is fitting on a country-rock piece.

The band’s social commentary is alive on the next cut, Pankow’s “What’s This World Coming
To?” a terrific blast of molten funk sung by Cetera (angry), Kath (funky) and Lamm (mellow). Walt Parazaider does his best Doc Kupka (Tower Of Power’s baritone saxophonist) imitation and the horns scream throughout. Kath gets in a brief, Hendrixian guitar break mid song and Lamm is pure Soul Man on organ, clavinet and electric piano fills. Great stuff and proves that Cetera can be a soulful and forceful vocalist when need be. Too bad he forgot that in his later attempts to be edgy (see “Hot Streets” through 㥽”).


The old vinyl side two opens with a beautiful acoustic piano introduction to Robert Lamm’s ‘Something In This City Changes People.” Lamm, Kath, Cetera, trumpeter Lee Loughnane and Terry Kath harmonize on this one. Kath plays jazzy acoustic guitar chords behind the singing. The only percussion is drummer Danny Seraphine playing triangle and future band member Laudir De Oliviera on congas. Walt Parazaider gets in a beautiful flute solo at the end of this gorgeous lament of show business phoniness. He is the only horn player to appear on this selection.

Lamm’s “Hollywood” (he delivers the lead vocal) features enough horns to light up L.A.! The
composition is another enjoyable commentary on the artifice of show business and California,
helped in no small part by the great brass arrangement and Pankow’s melodic trombone solo at
the end. “Hollywood” is one of my favorite tracks on this album: driving funk all the way. Laudir
plays congas on this one as well.

Peter Cetera wrote the next stinker, “In Terms Of Two,” one of his tiresome hillbilly hoedowns, complete with the author playing “Old Susannah” on the harmonica at the end of every chorus! Come on, how could I make THAT up? O’Rafferty contributes more pedal steel guitar to this mess, which makes it even more gag-inducing. The lyrics about “You played the part of Miss Hard To Get” don’t help.

Robert Lamm’s slow, funky “Rediscovery” is a first cousin to “Darlin; Dear,” not necessarily a bad thing. He vocalizes about “having lots of fun” with his lady after being gone for a while. Kath contributes a lazy, seductive wah-wah guitar solo and the horns snake around the proceedings. Lamm’s funky electric piano plays tag with Kath’s guitar at the end for additional fun.

The album’s breakout hit, “Feeling Stronger Every Day,” wraps things up. Cetera, the lead
vocalist on this all-time classic, apparently heard Pankow trying out the chord sequence for the
tune and decided to finish it with the trombonist. “Day” is Cetera’s first great composition (OK,
co-composition), featuring multiple sections, tempo changes and roaring horns. The subject matter
is recovery after a romantic breakup, something the AM radio audience could relate to, much to
Columbia’s joy. Talk about ending an album on a high note!

However, the Rhino reissue doesn’t end quite there. “All Our Sorrows” is a Terry Kath
vocal/piano ballad demo that goes on and on for about seven minutes. It is not noted if Kath,
Lamm or Pankow play piano on this selection. There are some interesting ideas, but the track is
too long and doesn’t really resolve properly.

“VI” still ends on a super high note, with a rarity: “Tired Of Being Alone,” collaboration with soul
singer supreme Al Green, from the band’s 1973 ABC television special. As Pankow proclaims at
the end, “Man, you sang your a** off!” His horn arrangement is punchy and touching at the same
time. The long tones at the end of each chorus are like stair steps climbing to soul heaven. The
rhythm section is funky in the extreme. At one point in the band’s career, they were considering
an album of funk/soul covers. Let’s hope they do still do it some day, as there is a SOULFUL
bunch of cats in this band (even the current lineup).

What can I say? This album is an overlooked, strong release with emphasis on the funk ! The bottom line: recommended without reservation!


Recommended: Yes